K problematice tzv. diskoték v československé populární hudbě s přihlédnutím k olomoucké scéně

The Issue of "Discotheques" in Czechoslovak Popular Music with Special Regard to the Music Scene in Olomouc

Jan Blüml

Musicologica Olomucensia vol. 24, (2016):7-17 | DOI: 10.5507/mo.2016.012  

Discotheques were one of the most important forms of Czechoslovak popular culture before 1989. These events mediated entertainment for a broad group of people, at the same time provided information unavailable in the context of the official media. For these reasons, discotheques quite soon became the focus of communist cultural politics. Its representatives attempted to form the given phenomenon under the direction of communist ideology, both administratively and in terms of education. The paper, which is based on an investigation of original sources including interviews with witnesses, deals with the aforementioned issues also with regard to the music...

Emanuel Bastl v čele olomoucké opery (1928-1932)

Emanuel Bastl, Leader of the Opera Ensemble in Olomouc (1928-1932)

Miriam Hasíková

Musicologica Olomucensia vol. 24, (2016):19-45 | DOI: 10.5507/mo.2016.013  

The existence and development of theatre institutions has always been determined by the current political and particularly by economic situation, the social stratification of the inhabitants and the audience, by the development of the media as well as by the artistic capacity of the country in the discussed era. These influences manifested themselves in the theatre of Olomouc, which was going through the crisis and consequent transformation at the turn of the 1920's and 1930's. The most representative constituent of the theatre in the interwar era, the opera ensemble, was nearly dissolved while the operetta ensemble was at its peak. This text depicts...

Reflexe hudební praxe staré hudby v díle Naxos Quartet č. 8 skladatele Petera Maxwella Daviese

Peter Maxwell Davies' Interpretation of Past Musical Practices in Naxos Quartet No. 8

Kheng K. Koay

Musicologica Olomucensia vol. 24, (2016):47-62 | DOI: 10.5507/mo.2016.014  

This study explores Davies' allusions to past practices in a contemporary context in his Naxos Quartet No. 8 (2005). The work demonstrates Davies' experiments with Renaissance polyphonic writing and Medieval practice, modifying them to make them modern in his composition. Baroque English musical elements in the composition are derived from John Dowland's Queen Elizabeth's Galliard, joined with musical styles and ideas from Henry Purcell (1659-1695). Logical structure of Classical period is also employed in the music. Listeners are certainly challenged in many ways by Davies' musical language in the composition.

Hudební řeč Thomase Simaku v jeho skladbě Plenilunio

The Composition Techniques of Thomas Simaku in His Plenilunio

Egli Prifti

Musicologica Olomucensia vol. 24, (2016):63-89 | DOI: 10.5507/mo.2016.015  

The music of Thomas Simaku (born in 1958), widely played throughout Europe and abroad, has received the acclaim of critics for its unique interweaving of emotional labour and modern musical language. These qualities are also present in the composition Plenilunio for 12-string instruments, which was premiered in 1999 by the Goldberg Ensemble. Plenilunio (Full Moon) was inspired by the cycle Lirici Greci (Greek Lyrics), the Italian version of the poetry by the ancient Greek poetess Sappho. The author uses several of his characteristic techniques, for example symmetry and modally constructed melodies, from where he takes the main chords, which are used...

Neznámý známý Robert Smetana

Unknown Known Robert Smetana

Pavlína Přibilová

Musicologica Olomucensia vol. 24, (2016):91-100 | DOI: 10.5507/mo.2016.016  

In this text, Robert Smetana is introduced as an important person of post-war Olomouc. The short biographical chapter shows Smetana's most important moments, including crucial personalities who formed and lead his journey to Olomouc. Among others, Vladimír Helfert, Stanislav Souček and long-time friend and colleague Bedřich Václavek are mentioned. Last but not least, Smetana's regional importance is examined primarily in the context of the process of the renewal of university education in Olomouc.

Od Mersmanna k Lewinovi: ke konceptuální proměně fenomenologické analýzy hudby

From Mersmann to Lewin: Toward a Conceptual Shift Within the Phenomenological Analysis of Music

Martina Stratilková

Musicologica Olomucensia vol. 24, (2016):101-111 | DOI: 10.5507/mo.2016.017  

Hans Mersmann presented his concept of musical structure in the 1920s and developed it mainly as a system of form types describing the classical music repertoire. In addition to this, he formulated a set of procedures to be used in the analysis of music. However, with the withdrawal of tonality in twentieth-century music, the significance of his framework for music analysis lessened. Moreover, even within the context of tonal music his approach has not become widely applied. On the contrary, David Lewin's model, developed within phenomenological reasoning sixty years later, despite being a model of musical perception, has turned into an influential...

Lukáš Jiřička, Dobyvatelé akustických scén: od radioartu k hudebnímu divadlu: Goebbels, Neuwirth, Ammer, Oehring, Praha: NAMU, 2015, 414 stran.

Jiří Kubíček

Musicologica Olomucensia vol. 24, (2016):115-119  

Vladimír Tichý, Jaromír Havlík, Tomáš Krejča, Petr Zvěřina, (A)tonalita, Praha: NAMU, 2015, 108 stran.

Jan Borek

Musicologica Olomucensia vol. 24, (2016):120-123  

Vybrané reflexe festivalu soudobé hudby MusicOlomouc 2016 (3.-12. října 2016)

Musicologica Olomucensia vol. 24, (2016):124-128